Appears infrequently, in small and unassuming venues throughout Germany. Performances are intimate by design and not widely advertised. Serious enquiries are welcome.
We started thinking about the mood of this record back in 2016, if you can believe that. The actual writing came a lot later. We're still not entirely sure why nothing ever felt finished enough to see daylight. We spent years just learning how to write something we'd actually call good, and every single note we put down felt like it wasn't quite there yet.
Then one night in 2019, something shifted. We still don't fully know how to explain it, but it felt exactly like a gate opening. Everything that had been stuck for years suddenly had somewhere to go. That's genuinely where this record came from, more than anything else we could tell you about it.
Are We Actually Ready For This
Honestly, right now, we are not sure if we should even go through with this. Part of us wants to wait for another September, to give it more time, to be more ready before we let anyone hear it.
Have you ever felt this? Some part of you wants to move, and another part, the more careful part, keeps saying wait, make it better, it is not quite there yet. We have been sitting in exactly that feeling for weeks now.
We decided to go ahead anyway. Modern Churches is coming out in May this year. We are still a little nervous about it, if we are being honest with you.
We're Working On Something
We are working on a new piece right now, and we can already tell it has to be something special. We feel the pressure of that more than we usually let on.
We do not have much more to say yet, only that we are properly in it now. Please stay with us while we get there. We will deliver, we promise you that.
In the lineage of minimalism · ambient music · folk song · early music
Who we are
Baroque manners in modern rooms — harpsichord meeting ambient air.
The project situates itself within classical crossover: the baroque ensemble treated less as an instrument than as a thesis, examined across threshold and architecture.
The catalogue — “Modern Churches”, “Silent Steppes”, “Slavic Tales”, “The Gate” — is best read as a single argument developed record by record.
Dispatches
The Gate
For a long time, this ensemble only existed as an idea. Every one of us wanted to make music together long before we actually did. But life has a way of asking for tomorrow instead of today. There was always a job to get to in the morning, a family to look after in the evening, and somewhere in between, the music kept getting pushed back. Next week. Next year. Sometimes it felt like it might get pushed back a whole decade.
What changed things was simple. We stopped focusing on the problems and started focusing on the music instead. Once we actually sat down together, everything moved faster than we expected.
We wrote The Gate in early 2019, though it took a few years after that for it to become something real. Between us, we had met more gatekeepers than we could count over the years, people and situations that kept the door closed. This record was the first moment it felt like a door had actually opened. It took a while to get here, but it is here now, and it is yours to listen to.
Modern Churches
Our second record came from something we noticed while travelling between rehearsals and shows. Empty churches, everywhere. Beautiful old buildings, standing quiet, with fewer and fewer people walking through their doors.
It would be easy to say nobody needs them anymore. But we are not so sure that is true. Maybe they are just waiting for a different kind of attention than they used to get. We do not have the answer, honestly, and we did not want to pretend we did. Modern Churches is less a statement and more a question we are still sitting with, the same way we imagine those buildings are still sitting with theirs.
We wanted the music to hold that uncertainty gently rather than resolve it. Some questions are worth carrying for a while before you try to answer them.
Slavic Tales
This record grew out of stories most people have never heard, old folk tales that used to be common knowledge and have quietly slipped out of memory. We wanted to bring a few of them back into the room.
The opening piece, Swiatowid, is named after an old myth of four faces looking in four directions at once, seeing everything and nothing all together. It had been mostly forgotten for centuries before we came across it. That felt familiar to us, honestly. The same way The Gate was our first moment of something opening, this record felt like the right time to bring these old stories back out into the light instead of letting them fade any further.
We are not folklorists. We are just musicians who think these tales are still worth telling, and still have something to say to anyone listening now.
Silent Steppes
Our newest record arrived only days after Slavic Tales, almost like it had been waiting just behind it. Silent Steppes tells the story of a seeker, someone who sets out without a fixed destination in mind. Not because they do not care where they end up, but because the destination was never really the point.
The steppes in the title are not really a place on a map. They are more like the wide, quiet distance between who you are right now and who you are still becoming. We wanted this record to feel like that kind of journey, unhurried, a little uncertain, but always moving toward something, even when you cannot yet name what that something is.
If The Gate was about a door finally opening, Silent Steppes is about walking through it and simply continuing on, wherever that leads.
Collabs
We are always open to working with people who care about the same things we do, patience, honesty, music that takes its time. If something we make resonates with what you are building, or if you just want to talk about an idea, we would genuinely love to hear from you.
